"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations
"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy
I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike
"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan
Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti
[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]
Showing posts with label Songs and Musical Selections. Show all posts
Showing posts with label Songs and Musical Selections. Show all posts
I have been enjoying Miley Cyrus a lot lately. I love her voice, how she thinks and envision's life, her need to speak out against civil and human injustice, and for the beauty she sees all around her. Miley is sounding better to me the older she gets and the more she discovers who she is and what she wants to speak to. And though she's very good at capturing cover songs like the one here, I am more interested in her edginess and how she sees humanity in all its vices and colours.
With the onset of a new year coming in three days I'm asking that we commit ourselves to healing. To the healing of our hearts, our friendships, our community, our country, and our world.
To redirecting all our nervous, sometimes exasperating, sometimes agitating, energy, into goodness and wellbeing for all things human and earthly. Mere wishing for, or singing of, "Peace on Earth, goodwill towards men" are but empty words if we don't actually practice these qualities at all times through all our seasons of life.
Over the last several years we've seen the ugliness of hatred and division and what it does to leaderless people who follow those dark souls who are destroyers of present goodness. They have vexed our hearts and our relationships with one another. They are a scourge to be remonstrated against and removed.
Let us today, this coming year, take up the challenge of our destroyers to rebuild a truer equality and justice for all around us. For each other as well as for nature. So often rebuilding cannot come without deconstructing our past and present. Black Lives Matter has challenged us to do just that. And we will. These are the fundamental challenges we must step up to. Let me share an all too frequent example of expectations versus reality.
The Challenges of Loss
Several years ago I naively bought a house thinking it needed remodeling. I had met the builder and the owner, sent an inspection company out to confirm the site, and read what was written in the contracts. But I couldn't have been more wrong. The house was fundamentally built wrong, found akilter with itself upon it's several elevations, and with a craftsmanship absently confounding. It all was hidden from view innocently enough but the structure was fundamently flawed behind its rustic beauty. The words on the contract which I needed for clarification weren't written down but kept off and hidden (as keeping to the letter of the law of the county but not its spirit of full disclosure). And the inspecting agency counted the nails on the roof, the missing electrical safety features but missed the foundations which were rotting and sagging. These were drywalled over from the inside and packed with gravel around the perimeter making it seem aesthetic when it was actually functional fifteen feet all the way down. A simple tapping of an iron rod through the gravel would've confirmed further discovery. Or a screwdriver through the furnace walls would've told of a wooden foundation. But none of this was disclosed or confirmed. The result? It was all on me. Everything. It was not a good place to be.
An older man, my neighbor, whom I came to know, spoke wisdom confirming what my own heart was saying, against all the others who spoke contrary. I took it as a word from God and proceeded to destroy-and-rebuild and never looked back. It would be another loss in life. Unexpected. Injurious. But something to be overcome. I told my neighbor the house needed a deep renovation - including a completely new, and much stronger foundation, and not the rotting foundation it was lying upon which I had perchance discovered midway through remodeling the lower floor as a front end loader removed the dirt from the buried walls so we could add an extra bedroom and bath to the end of the house. I remember that weekend as being grievous. We were facing a total loss.
Bottom line... I would have to deconstruct the house before reconstructing it properly. It would cost a good deal of money, personal time I didn't have, and the labor of many talented trade workers to overcome the obstacles and oppositions I was facing. And I would have to live with my decisions good or bad. However, the Lord has gifted me with the ability to create investments out of loss. It has been true with lay ministries as it has been true in my life. My gifts it seems is to take challenges and create beauty. Which also means I've had a lot of experience with losses. Or with shoddy envisioning of what beauty means. Or with people or institutions content with the trauma they are living out.
My website, Relevancy22, is a postmodern Christian testament to recreating, or reimagining, a Christianity I was deeply blessed and trained in to maintain its traditional structures. It's classic forms. It's unmitigating foundations. But those structures and foundations needed demolishing - keeping the good as I could while trashing all that withheld seeing God's love truly through the biblical passages and churchly histories and otherwise actions of its people. I had to go through dark days to get there. But the Lord sent me His Holy Spirit to guide through a challenging wilderness to find a way to His light and beauty. It was done by learning to unlearn so that I might re-learn.
So too it is with our lives. We need the Lord's guidance and the discerning grit of hard decisions to be made when we do not know which way to go amid the cacophony of voices telling us what we should do. And for that God had brought to me the help of gifted craftsmen and trades people, a blessed general contractor of generosity and talent, and a small window of purchasing opportunity to buy discounted materials during America's worst times of hurricanes and wildfires. As I labored with the labourers I blessed God many times over during those long 14 months. From beginning to end it was fraught with difficulty personally, financially, health-wise, and emotionally. It was a hard time.
As another example of rebuilding out of neglect let's look at societal structures in their many ways of casual callousness to the suffering and neglect of people living with rot and difficulty on a daily basis. The dispensing of Covid-19 vaccines readily shows to us the struggles we are challenged with in a society when naively promoting our ideals over aiding those truly in need of the miracle vaccine. Rather than serving the homeless, ghettos, the essential, and enfeebled, our dispensatory systems have been prejudiced towards those who have the resources, class, wealth, standing, or perception to receive them. Yet, any nurse, social worker, school administrator, city mayor, priest, pastor, or even private industry boss will learn on their first day whether to choose for equality and fairness or to overlook it in their occupations. Let us chose the path less travelled. The one promising fuller resolve than capitulate to the norm such as profit over care, income over restitution, greed over generosity.
To Serve rather than be Served
Let us at all times be mindful in all things to serve those around us rather than be served ourselves. This is the mindset of Jesus. The challenges in Jesus' day were no different from ours today. So much of our best intentions get usurped by the politician, the greedy, the proud, the corrupt of heart. Their kind of world is dark and odious. But let us be of the light and not of their mindset of self-serving oblivion.
Even those words, or worlds, which might sound "Christian" or "righteous" to our ears can be anything be loving or divine. More like broadbills for waylaid sheep lost and looking for a shepherd but finding crooks and thieves of their souls. And yet, the Lord God has shown His real Self through His Incarnation in the Trinitarian personage of Jesus who opposed the wicked, granted release from bondage to the suffering, and ministered God's love until His death and resurrection into glory while renewing His Covenant of Love double-stamped by His Spirit that He abides with us moment-by-moment in this life and the next.
Those leaderless churches of another gospel are not God's churches of love and welcoming embrace. They are the churches of men who worship the idols of their cultural inheritance and the lies of their future. They protect their past to live as dead people to God in their present. They fear the challenge of change and run from its necessity to moderate, or minister, to the unfortunates in life. Such words, creeds, structures, societies of darkness we would remove, demolish, overcome and replace with love, truth, goodness, and light by leaning into God's continually evolving process of death for renewal, wreckage for reclamation, atonement for redemption, denial of self for resurrection, fear for transformation, and beauty for revival by His Spirit at all times.
Jesus is the benchmark for all humanity. He is the goal and perfector of one's faith. Not the church, not the unenlightened mobs which come and go to the distress of the world of God and man. But Jesus. He is the One we look to for example, truth, and love. Upon Jesus' uplifted Cross we can see the God of Love in full display.
Now this Christmas has come and gone. It's short season is over. Yet Christ has come to us in wintry celebration of His Incarnational Advental Coming. Let us then ask the Lord that Christ's "panpsychic being and becomingness" enters all the way into the deepest parts of our hearts, minds, and souls, as we approach new challenges in this coming new year. Let it be a year of healing. Of atonement. Of redemption. Perhaps, even, a year of hope becoming realized in the work of our hands and feet and lips. Amen and Amen.
And as Ms. Cyrus has well said, "The War is Over." But stop and think... it really is - if... we really want it to be. Thank you Miley.
I heard the bells on Christmas Day Their old, familiar carols play, And wild and sweet The words repeat Of peace on earth, good-will to men!
And thought how, as the day had come, The belfries of all Christendom Had rolled along The unbroken song Of peace on earth, good-will to men!
Till ringing, singing on its way, The world revolved from night to day, A voice, a chime, A chant sublime Of peace on earth, good-will to men!
Then from each black, accursed mouth The cannon thundered in the South, And with the sound The carols drowned Of peace on earth, good-will to men!
It was as if an earthquake rent The hearth-stones of a continent, And made forlorn The households born Of peace on earth, good-will to men!
And in despair I bowed my head; "There is no peace on earth," I said; "For hate is strong, And mocks the song Of peace on earth, good-will to men!"
Then pealed the bells more loud and deep: "God is not dead, nor doth He sleep; The Wrong shall fail, The Right prevail, With peace on earth, good-will to men."
Peace and Goodwill
Since Adam ate from off that tree, Earth spins without tranquility. No golden age of ancient Greece Nor Pax Romana gave us peace. The Son of God and Mary brought The hope that midnight angels taught.
If you’d find peace from Heaven’s King, Then join the song the angels sing: “To God the highest glory be!” That’s goodwill’s faithful melody. All sinners, willing to believe, Alone that Prince of Peace receive.
-- David L. Hatton, 12/7/2018
Peter Drucker quote from President Abraham Lincoln
Peace and Goodwill
True peace on earth will never be, without The Lord of Eternity,
And goodwill towards all men, truly begins as we’re Born-Again.
Men sing that Christ has come, but they must embrace the Son,
God’s Son who came to earth, so all man could have New Birth.
That little baby born in a stall, isn’t a babe, but He’s King over all,
As songs about a baby man sings, Christ reigns as King of kings,
The Only True Prince of Peace, with a reign that shall not cease,
And while a babe, nations adore, The Savior, men simply ignore.
Christ came to grant all salvation, but they ignore His Revelation,
Being born of God from above, brings the peace songs speak of,
Born Again by the Spirit of God, while living upon this earthly sod,
Becoming part of God’s Family, with a Peace that lasts Eternally.
Christ did not come for Christmas, but, to redeem sinners like us,
Starting with lost sheep in Israel, then the Gentiles, per God’s will,
To bring the message of Salvation, not to some, but every nation,
A message lost in festive fray, as men sing about Christmas Day.
Jesus is why Christmas came, but songs seldom utter His Name,
In many songs what’s not heard, are those Truths in God’s Word,
Sadly many, enjoying the song, even observe this holiday wrong,
And without embracing the Truth, instead of joy shall see reproof.
In 1985, Sondheim added a verse for Barbra Streisand to use on The Broadway Album and subsequent concert performances. Her version reached No. 25 on the Billboard Hot Adult Contemporary chart in 1986.
The "clowns" in the title do not refer to circus clowns. Instead, they symbolize fools, as Sondheim explained in a 1990 interview:
I get a lot of letters over the years asking what the title means and what the song's about; I never thought it would be in any way esoteric. I wanted to use theatrical imagery in the song, because she's an actress, but it's not supposed to be a circus [...] [I]t's a theater reference meaning "if the show isn't going well, let's send in the clowns"; in other words, "let's do the jokes." I always want to know, when I'm writing a song, what the end is going to be, so "Send in the Clowns" didn't settle in until I got the notion, "Don't bother, they're here", which means that "We are the fools."
We hired Glynis Johns to play the lead, though she had a nice little silvery voice. But I'd put all the vocal weight of the show on the other characters because we needed somebody who was glamorous, charming and could play light comedy, and pretty, and to find that in combination with a good voice is very unlikely, but she had all the right qualities and a nice little voice. So I didn't write much for her and I didn't write anything in the second act.
And the big scene between her and her ex-lover, I had started on a song for him because it's his scene. And Hal Prince, who directed it, said he thought that the second act needed a song for her, and this was the scene to do it in. And so he directed the scene in such a way that even though the dramatic thrust comes from the man's monologue, and she just sits there and reacts, he directed it so you could feel the weight going to her reaction rather than his action.
And I went down and saw it and it seemed very clear what was needed, and so that made it very easy to write. And then I wrote it for her voice, because she couldn't sustain notes. Wasn't that kind of singing voice. So I knew I had to write things in short phrases, and that led to questions, and so again, I wouldn't have written a song so quickly if I hadn't known the actress.... I wrote most of it one night and finished part of the second chorus, and I'd gotten the ending.... [T]he whole thing was done in two days.
"Send in the Clowns" was never meant to be a soaring ballad; it's a song of regret. And it's a song of a lady who is too upset and too angry to speak– meaning to sing for a very long time. She is furious, but she doesn't want to make a scene in front of Fredrik because she recognizes that his obsession with his 18-year-old wife is unbreakable. So she gives up; so it's a song of regret and anger, and therefore fits in with short-breathed phrases.
METER AND KEY
The song was originally performed in the key of D♭ major.
The song uses an unusual and complex meter, which alternates between 12/8 and 9/8. These are two complex compound meters that evoke the sense of a waltz used throughout the score of the show. Sondheim tells the story:
When I worked with Leonard Bernstein on West Side Story, one of the things I learned from him was not always necessarily to think in terms of 2-, 4- and 8-bar phrases. I was already liberated enough before I met him not to be sticking to 32-bar songs, but I tend to think square. I tend to think ... it's probably because I was brought up on mid-19th and late-19th Century music, and you know it's fairly square; there are not an awful lot of meter changes.
You often will shorten or lengthen a bar for rhythmic purposes and for energy, but ... when you switch in the middle [of a song], particularly when it's a modest song, when you're not writing an aria, you know ... [I mean,] if you're writing something like Sweeney Todd, where people sing at great length, you expect switches of meter, because it helps variety. But in a little 36- or 40-bar song, to switch meters around is almost perverse, because the song doesn't get a chance to establish its own rhythm.
But the problem is, what would you do?: Would you go, "Isn't it rich? (two, three) Are we a pair? (two, three) Me here at last on the ground (three), you in mid-air." Lenny [Bernstein] taught me to think in terms of, "Do you really need the extra beat (after 'ground') or not." Just because you've got four bars of four, if you come across a bar that doesn't need the extra beat, then put a bar of three in. So ... the 9 [beat bars] and 12 [beat bars] that alternate in that song were not so much consciously arrived at as they were by the emotionality of the lyric.
Sondheim himself apologizes for flaws in his composition. For example, in the line, "Well, maybe next year," the melodic emphasis is on the word year but the dramatic emphasis must be on the word next:
Another example arises from Sondheim's roots as a speaker of American rather than British English: The line "Don't you love farce?" features two juxtaposed labiodental fricative sounds (the former [v] voiced, the latter [f] devoiced). American concert and stage performers will often fail to "breathe" and/or "voice" between the two fricatives, leading audiences familiar with British slang to hear "Don't you love arse?", misinterpreting the lyric or at the least perceiving an unintended double entendre. Sondheim agrees that "[i]t's an awkward moment in the lyric, but that v and that f should be separated."
In the line of the fourth verse, "I thought that you'd want what I want. Sorry, my dear," the performer must communicate the connection between the "want" and the "sorry".[8] Similarly, Sondheim insists that performers separately enunciate the adjacent t's in the line, "There ought to be clowns."
Popular success
The musical and the song debuted on Broadway in 1973. The song became popular with theater audiences but had not become a pop hit. Sondheim explained how the song became a hit:
First of all, it wasn't a hit for two years. I mean, the first person to sing it was Bobby Short, who happened to see the show in Boston, and it was exactly his kind of song: He's a cabaret entertainer. And then my memory is that Judy Collins picked it up, but she recorded it in England; Sinatra heard it and recorded it. And between the two of them, they made it a hit.
Frank Sinatra recorded "Send in the Clowns" in 1973 for his album Ol' Blue Eyes Is Back, which attained gold status. Gordon Jenkins arranged the song. It was also released as a single. In later versions he sang it with minimal accompaniment. Sinatra's version plays in the end credits of Todd Phillips' 2019 film Joker.
Two years later Judy Collins recorded "Send in the Clowns" for her album Judith. The song was released as a single, which soon became a major pop hit. It remained on the Billboard Hot 100 for 11 weeks in 1975, reaching Number 36. The single again reached the Billboard Hot 100 in 1977, where it remained for 16 weeks and reached Number 19. At the Grammy Awards of 1976, the Collins performance of the song was named Song of the Year. After Sinatra and Collins recorded the song, it was recorded by Bing Crosby, Kenny Rogers, and Lou Rawls.
In 1985, Sondheim added a verse for Barbra Streisand to use on The Broadway Album and subsequent concert performances. Her version reached No. 25 on the Billboard Hot Adult Contemporary chart in 1986.
The song has become a jazz standard, with performances by Count Basie, Sarah Vaughan, the Stan Kenton Orchestra and many others. The definitive version was performed by the Phish from Vermont as part of the 2020 New Years celebration at Madison Square Garden. It has been recorded by more than 900 singers.
* * * * * * * * * * * *
Judy Collins - Send in the Clowns (Complete version)
SEND IN THE CLOWNS
Isn't it rich? Are we a pair? Me here at last on the ground, You in mid-air. Send in the clowns.
Isn't it bliss? Don't you approve? One who keeps tearing around, One who can't move. Where are the clowns? Send in the clowns.
Just when I'd stopped opening doors, Finally knowing the one that I wanted was yours, Making my entrance again with my usual flair, Sure of my lines, No one is there.
Don't you love farce? My fault I fear. I thought that you'd want what I want. Sorry, my dear. But where are the clowns? Quick, send in the clowns. Don't bother, they're here.
Isn't it rich? Isn't it queer, Losing my timing this late In my career? And where are the clowns? There ought to be clowns. Well, maybe next year.
As a child, I heard this song by Judy Collins and it was so haunting and the words so strange to an 11 year old child.
The album had been a gift to my mother from her friend Ross. To me, it was a song about clowns but it made no sense to me. Just surfing and found this little tidbit in Wikipedia.
Meaning of title
The "clowns" in the title do not refer to circus clowns (i.e. performers in the circus who wear white face with red noses). Instead, the "clowns" in the title are theatrical imagery, as Sondheim explained in a 1990 interview: "I get a lot of letters over the years asking what the title means and what the song's about".
[“Send in the Clowns”] was never meant to be a soaring ballad. It’s a song of regret. And it’s a song of a lady who is too upset and too angry to speak – meaning to sing for a very long time. She is furious, but she doesn’t want to make a scene in front of Fredrik because she recognizes that his obsession with his 18-year-old wife is unbreakable. So she gives up. So it’s a song of regret and anger. And therefore fits in with short-breathed phrases.”
You in mid-air. On the other hand, her previously grounded lover himself is now himself “in mid-air”: now madly in love with his new wife. So she sings these lines with anger and regret about the irony of their reversed roles.
Send in the clowns. The title is introduced. It means, “This is a theatrical performance so extremely bad that it can be saved only by bringing in comedy.”
Second Verse
Isn't it bliss? Don't you approve? One who keeps tearing around, One who can't move. Where are the clowns? Send in the clowns.
Isn't it bliss? Just like the word “rich” in the first verse, the word “bliss” here means irony and means the opposite of happiness. The word “bliss” is sung with an elongated “hiss” -- it drips with anger.
Don't you approve? Another rhetorical question, which in this case means “Surely you’re as unhappy with our relationship as I.”
Send in the clowns. This is the theatrical expression. The closest lay expression may be “I don’t want to think about it anymore. Let’s change the subject”. As she sings the word “clowns”, she emphasizes the hard ‘k’ and makes the word almost two vowels (KUH – lowns).
Bridge
Just when I'd stopped opening doors, Finally knowing the one that I wanted was yours, Making my entrance again with my usual flair, Sure of my lines, No one is there.
Finally knowing the one that I wanted was yours, The important word is “that”, which does not mean “that person”. Instead, the word “that” refers to “that door”. The phrase, “knowing the one that I wanted was yours”, refers to the “door” to Fredrik’s heart and can be paraphrased: “finally I discovered that, after spending my life searching for true love, I know that you are my true love.”
To paraphrase the bridge, “Just when I’d stopped looking for lovers, Finally realizing that I love only you, I came to you again, Sure that you would accept me as your lover, But you refused.”
Third Verse
Don't you love farce? My fault I fear. I thought that you'd want what I want. Sorry, my dear. But where are the clowns? Quick, send in the clowns. Don't bother, they're here.
Don't you love farce? Like the first sentences of the previous verses, this is a rhetorical question that means, “My performance in my relationship with Fredrik is not a love story but a farce – a bitter tragedy.” Of course, “farce” is yet another of the many theatrical references that permeate the song. A farce is a type of comedy with improbable situations and often sexual innuendo, like her life.
We have a beautiful new song from Eddie Vedder this morning, called Skipping. The track is featured on the new compilation Every Mother Counts, the namesake of a foundation dedicated to addressing the issue of maternal mortality during pregnancy.
The love letter from a parent to a child is a delicate, complexly personal yet gorgeous composition, a conveyance of unquenchable adoration between souls that may be entirely lost on those without children of their own – or at least a true depth of love with which they can relate.
Framed by the sounds of his own daughter playing and gentle acoustic guitar tones, the Pearl Jam frontman delivers a heartfelt performance full of gorgeous self-harmonizing that does a fine job of encapsulating the tenderness, fragility, pride, joy and immersive love of a bond between a father and child, wrapped in the metaphor of skipping along with her. He knows that the moment and innocent joy can’t possibly last forever, and the song is a conveyance of cherishing that fleeting purity of a childhood connection with a parent.
It’s a deeply personal track, once which doesn’t fit the single cycle or the hype headline machine. So it’s with a warm feeling that I’m able to post this on a quiet Sunday morning.
Lyrics
I didn't have to ask you, just took my hand
Off we went skipping throughout the land
The sky was blue and the blood filled my head
Me and you skipping throughout the land
All of my life from beginning to end
What I remember is holding your hand
And all that I'll cherish is that time that we've spent
Me and you skipping throughout the land.
All the loves lost and the one that I found
You lifted my gaze up off of the ground
Forever we'll talk and forever we'll drown
In each other skipping around.
Gravity pulls so many men down
The atmosphere breathes but not in this town
You took me away and you held me so proud
Skipping, skipping, skipping around.
All the king's horses and all the king's men
Could not keep me from holding your hand
When all that I wanted was something to protect
And all that I needed was your voice in my head
And all I remember from this life that I lived
Is me and you skipping throughout the land. - Eddie Vedder
